







Class & 

Book. 

Gopght N°_ 


COPYRIGHT DEPOSIT 










































































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JHotimi 




























PPAGTIGAL 
A PPL ICA TIOJY 

i£i cf\ ct I s~J—- 

Scribe. dT^^/ 

“Beneath the rule of men entirely great , 

The pen is mightier than the sword.” 


QtyicttQO. 

'Cairfc Sc Ccc, Publishers 

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A 


LIBRARY of CONGRESS 
Two Oooles Received 

FEB H 1907 

{] Copyrleht Entry 

"in 6 '1 

(□LASS A XXc.i No, 

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COPY B. 



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ALL RIGHTS RESERVE!} 


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Modern Penmanship 

~T^\URING the last decade business methods have almost 
1 J been revolutionized. Competition , centralization of 

the means of production and distribution , and other new 
factors in the modern system of Commerce demand similar new 
methods in all departments of human endeavor. 

It is true , that in correspondence the typewriter \has large¬ 
ly superseded the “ scribe and the quillf but penmanship is still 
an important factor in the world of business , and the bookkeeper 
or clerk who can skillfully wield the pen is always in demand. 

Time , however , in these strenuous days is considered too 
valuable to waste in meaningless and confusing curves and 
dashes. A few years ago the penman who could make the most 
flourishes and lay on the most shadings was looked upon as an 
adept in chirographic art. To-day he would be considered a 
“back number A In order to keep abreast of the times , every 
student , teacher , clerk and business man should master the evo¬ 
lutions that have taken place in penmanship during the past few 
years. In Laird & Lee's Modern Penmanship all the import¬ 
ant styles of writing are clearly exemplified. The different 
alphabets are given , followed by examples of their practical 
application . Script , “ Pound Hand“Modified Round Handf 
German Text , Old English , Italic and other styles are presented 
in legal , business and social forms , letters , invitations , resolutions , 
diplomas , drafts , card-writing , engrossing and marking. 

Full instruction is given in the art of penmanship, in¬ 
cluding position and movement , with the necessary exercises. 

Any person of average ability who will follow the instruc¬ 
tions here given and persist in practising , can become a good 
and rapid penman , if not a master of the art . 


CONTENTS 


PART FIRST 

PAGE 

FRONTISPIECE 

Engrossing Script, Capitals and Small Letters - 9 

Example of Engrossing Script - - - 10 

Round Hand, for Headings, Display, etc. - 11 

Round Hand, for Engrossing Poems, Mottoes, etc. - 12 

Modified Round Hand, Capitals and Small Letters - 13 

Modified Round Hand as used in Engrossing Resolutions, Deeds, Wills, etc. 14 

German Capitals and Small Letters ------- 15 

German Text Exemplified ------ 16 

Old English, Capitals and Small Letters ------ 17 

Modified Old English Text for Diplomas and Certificates - - 18 

Compact Old English Text, Exemplified ------ 19 

Modified and Open Old English, for Engrossing Mottoes, etc. - - - 19 

Old English and Script, Exemplified for Resolutions, etc. 20 

Italic Capitals and Small Letters ------ -21 

Marking Alphabet.- 22 

Roman Capitals, after Elzevir.23 

Mediaeval Capitals, Small Letters and Numerals ----- 24 

Fancy Capitals and Small Letters - - - - - - - - 25 

Vertical Capitals, Small Letters and Body Writing ----- 2 6 

Specimen Business Hand -------- - -27 

PART SECOND 

PAGE 

HIEROGLYPHS - .28 

CHAPTERS. 

I. The Origin of Writing - -. 29 

II. Penmanship and Writing - - - - - - - - 32 

III. How to Learn Penmanship ------- 34 

IV. How to Teach Penmanship -------- 36 

V. Materials. 38 

VI. Important Points.39 

PART THIRD 

CHAPTERS. 

I. Position. ---40 

II. Movement. 42 

III. Movement Exercises . 43 

IV. Analysis. 48 

V. The Parts of a Letter.-74 

VI. Ornamental and Card-Writing -.- 86 














PART I. 

Engrossing Script, Caps and Small Letters 








9 


Example of Engrossing Script 



10 






Round Hand, for Headings and Display 



Round Hand, for Engrossing 
Poems and Mottoes. 


Qaa>&/ sOJvi&v / g p W/e/Afvou^ik, 

Qaamz^a^ eedo, /qv^e^ie^ 

Qaa?/& Xoa?a 2/, /fliAie//kect/i0' 

9/k^ fy^Z/aiwyOA ^O A^ivAAA^i 

cK^/wfluy^tveo aao^_Xo^vwX^vm^ , 



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e? 

i rag 

l V ID 
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!g* 
{Sg 

! © £ 
1 £ 2 
a 55 


^ . 

<£>* 
>» 5 

•3 § 

d ^ 

^ a* 

?> & 
£ 


Modified Round Hand, as used in Engrossing 



14 


German Capitals and Small Letters 

^-03 

uni & 

iiS7i'2n> 


German Text Exemplified 



OUtU$t) ig, ct ^poftorPui atblo 
litut ©Bo ©Bo receives. 

Ifrodfa 0ctg> man ffiifFrespcct, 
anb to ©Iifma<« ctftea^r one be^xtr. 
afe tMofffcffe wopecfftFfe. 
bitbeje oPHic .perFIcf ^ortrlmau. 


Old English, Caps and Small Letters 



17 























Modified Old English Text, for Diplomas 
and Certificates 

3\mmsm3 

dKmmym 



cUH^ofiU'ijlunu 

1234507$9O 


18 


Compact Old English Exemplified 


||j|f jgiiall jntss tlinraglj Hjfsr unn;Iir but 
7|\ mire,-mm gimlr thing, thm-fum, tlytt 
^KS’3araTriT,m;ttnjr lutttmfss tbitffrmt 
jaljonr to atm human bring, let mtba it 
nmn, Iff mf unf Mrr if nmj matted? if, Finj 
-Jsltull nut puss this man again. 


Modified and Open Old English for 
Engrossing Mottoes 

tUfuit arc you worth to-bayt 
Jlot in money. 

13 ut in brams, heart, purpose 
anb character. 

5eff yourseff the truth about 
yourseff. 


19 











Example of Old English and Script for Resolutions 




TBijetieix&, 

3 ante# f)tm% (ftnttt^ 

'-s&u/' / yj$iereaJ, 




Italic Capitals and Small Letters 



21 



Marking Alphabets 


Roman Capitals, (after Elzevir) 



23 


1234567890 




Mediaeval Capitals, Small Letters and Numerals 


"or h 



£ 

— = = 

M O 


IP 3 ^ E9 



24 


(254§ Yij Zi 67890 


Fancy Capitals and Small Letters. 



















Specimen Business Hand 



77l^uW^iy j Ztsfr/// 7%£e 

z2^? ZZy £t?ZZ<r<££' , 

Jty/' 6 a/ <%yj yd^^y?y& <ZJ Cy/ 

7yP7>/^ -€6C<l£y -t^^y^C^y/y Zk>7^^ (^yCy^ 

~^s€y ^^lyy 

-^%yyy//?cy^T^yyyz^ f ^Zy/^>u^. 

u/ Ty^e, 7-zyy>/uyjytz^ ^yzyyf — 




fyy/iy 7^l4y&y t 


26 



Vertical Capitals, Small Letters and 
Body Writing. 


. y\ p m 

ttt? t: a, >1 [ r t 


jw: j o 

a T. ,/ yc) /K . v t 

'^J\7 

i 


<7 (V) T1 

(. n n u v n ; 



: vJ (1 JriJt <f> J u 



- r ~ 

, F Y 1 , 7 

/ 

-A/. ■ b /7 


p i r~ 


7 • - 


777“ /7 (7 (X Jb / 

( 1 ,.^ 

x a. 7 

, / 

T„ 


J d .d 



a: a . zzz in 


a, /vv\, /Ti/ a /fi -C|. 


'/!/ ''AKT7XT7UEIZ 


5 




yt/Kb 


SKoahj xie/vote^ anmjilihiAj , 

.am, (jAtaZ cui/mJ a/nd, [/Ybjywiail jJia/vo 

dluMAjd lKJLfY^kjO\XlV^ AM, LOJWbtXj. 


27 













































PART II. 


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HIEROGLYPHS 


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HIEROGLYPHS REPRESENT THE EARLIEST 
FORM OF WRITING, FOUND AS MARKS AND 
SYMBOLS ON THE MONUMENTS OF EARLY 
EGYPT. 

SEE ’’ORIGIN OF WR ITING”OPPOSITE PAGE 











































PART II, 


CHAPTER I. 

THE ORIGIN OF WRITING 

UT little of the origin of written language is positively known. The 
Egyptians ascribed it to Thoth, the Greeks to Hermes or Cadmus, 
and the Scandinavians to Odin. 

The World's Encyclopedia: The most ancient of writing was on bricks and 
on tables of stone, afterward on plates of various materials, on ivory, on the bark of 
trees and on their leaves. Specimens of most of these modes of writing may be 
seen in the British museum. No. 3478, in the Sylvanian library, is a nabob’s letter 
on a piece of bark about two yards long, and richly ornamented with gold. No. 3207 
is a book of Mexican hieroglyphics painted on bark. In the same collection are 
various species, many from the Malabar coast, and other parts of the East. The 
latter writings are chiefly on leaves. The prophecies of the Sibyls were on leaves. 
There are several copies of Bibles written on palm leaves still preserved in various 
collections in Europe. The ancients, doubtless, wrote on any leaves they found 
adapted for the purpose. Hence the Leaf of a book as well as that of a tree is 
derived. 

In the book of Job mention is made of writing on stone and on sheets of lead. 
The law of Moses was written on stone. Hesiod’s works were written on leaden 
tablets. Lead was used for writing, and rolled up like a cylinder, as Pliny states. 
The laws of the Greeks were engraven on bronze tablets. In the shepherd state they 
wrote their songs with thorns and awls on leather. The Icelanders wrote on walls; 
and Olaf, according to one of the sages, built a large house, on the balks and spars 
of which he had engraven the history of his own and more ancient times; while 
another northern hero appears to have had nothing better than his own chair and 
bed on which to perpetuate his own heroic acts. The Arabs took the shoulder 
bones of sheep, on which they carved remarkable events with a knife, and after 
tying them with a string they hung these chronicles up in a cabinet. 

These early inventions led to the discovery of wood; and as cedar is incor¬ 
ruptible from its bitterness, they chose this wood for cases or chests to preserve 
their most important writings. From this custom arises the celebrated expression 
of the ancients when they meant to give the highest eulogium of an excellent work, 
et cedra digna locuti , that it was worthy to be written on cedar. These tablets were 
made of the trunks of trees. The use of them still exists, but in general they are 
made of other materials than wood. The same reason which led them to prefer 
cedar to other trees induced them to write on wax, which is incorruptible from its 
nature. They wrote with an iron bodkin, as they did on other substances we have 
noticed. The stylus was made sharp on one end to write with and blunt and broad 
at the other to deface and correct easily. Hence the phrase vert ere sty/urn, to turn 
the stylus, was used to express blotting out. But the Romans forbade the use of 

29 




this sharp instrument, from the circumstance of many persons having used them as 
daggers. They substituted a stylus mrde of bone of a bird, or other animal, so 
that these writings resembled engravings. When they wrote on softer materials 
they used reeds or canes, split like our pens at the point, which the Orientals use to 
lay their color or ink on paper neater. The word pen in the translation of the 
Bible we are evidently to understand an iron style. 

The ancient systems of writing had at least three different sources, 
the Egyptian (which was considered the finest), the Assyrian and the 
Chinese system; all of which were hieroglyphic. 

The old hieroglyphic writing is placed several thousand years before 
Christ, and it continued in use down to Christian times, although shorter 
methods of writing had been devised. 

The first step toward writing was probably the ideographic style ; the 
ideographic system (ideo, idea, and grapho, I write,) represented things by 
pictures. Thus, the sun was indicated by a small circle with a dot inside, 
the moon by a crescent with a line inside, the water by a wavy horizontal 
line, etc. 

Some of the above illustrations are taken from the Chinese system of 
written language; the Chinese language contains 214 single signs or keys, 
which are hieroglyphic; from these 214 elements all the characters of the 
language, (about 80,000 in number,) are formed, by combining these, 
every character representing one or more syllables, having a distinct meaning. 

This style of writing was also used early in Egypt, and in the most of 
the ancient nations. In Mexico, when the Spaniards landed, intelligence 
was sent to Montezuma by paintings on cloth in an elaborate style. 

The next step was the application of a symbolic signification to the 
figures, by abbreviating those in constant use, and gradually simplifying 
these characters, so that at last they became the symbols of the sounds of 
spoken language. 

The Phonecians adopted only the phonetic symbols, and thus originated 
the first purely alphabetic system of writing. 

Note.—T he hieroglyphic style of writing consisted of pictorial illustrations of a sacred char¬ 
acter representing objects. 


30 


(See page 28.) 



N 


In the tenth century the Saxon style was brought into notice and lasted 
for nearly two hundred years. Some of the finest penmen and best authors 
on the subject, have since been Englishmen. 

The style we have developed in this country is a system of our own, 
the main credit for which belongs to our writing teachers in Commercial 
Colleges, and within the last io to 15 years the form of Penmanship has 
been reduced somewhat in size and has been clothed with life, and a lighter 
complexion, until up to the present time it stands at the head of all arts, 
and is considered a necessary branch of popular education. 

Americans may feel proud, not only in their progress in other things, 
but in the fact, that no other country in the world has so many fine penmen 
and good rapid writers as their own. 

The United States has the largest proportion of population who can 
read and write of any nation. 



31 












CHAPTER II. 

PENMANSHIP AND WRITING. 

“Penmanship is a utilitarian art based upon the elements of the fine arts— 
while subserving the ends of use, it gratifies the taste for grace and beauty.” 

[II HE words Penmanship and Writing are frequently used synonymo.us- 
™ 1 ly, and can be so used in /arious cases, but they are different in diri- 
vation, and shoul i be used in such manner as to convey thought 
intelligently. 

The employment of the pen includes a number of branches, such as 
Script-forms, Flourishing, Lettering, Designing, Drawing, Portraiture, etc. 
Any of these departments when related to Art, may be included in the 
meaning of the term Penmanship. 

Penmanship and Writing therefore in their broadest meaning include all 
these different branches of Pen art; but ninety nine times out of a hundred 
the term Penmanship is associated with the script forms only, and it therefore 
seems just and proper to limit the meaning of the term Penmanship to script 
forms, whether made with a pen, pencil, crayon, type, brush or chisel on any 
material; and exclude all the other branches of Pen Art. 


PENMANSHIP. 

“God has diffused beauty, 

And Art has combined it.”— Houssage . 

Penmanship as an Art in its various branches, is the most beautiful and 
useful of all arts. The forms of Pen Art being mostly made of curved lines, 
can be compared with the lines of nature, the body and branches of trees, 
and the fruit that grows thereon; the flowers in the field, the waves of the 
ocean, etc., are all composed of curved lines, which are termed the lines of 
beauty. Beauty is a divine attribute revealed to the higher reason, which 
gives interest to the lowliest objects of life. As it has been said, that style 
is the dress of thoughts, so is Penmanship the dress of writing, by means of 
forms. It embodies it like the star of eve, that glitters like a diamond upon 
the brow of night; therefore without Penmanship, Writi'ng would be, what 
our thoughts would be without style, and without writing the twenty six 
characters would be as useless, as style would be without thoughts, or as the 
tongue without brain. 


32 



When we relate to a beautiful specimen of penmanship, we generally 
refer to the form, regardless of the composition and the grammatical ex¬ 
pression; and when we speak of a great writer, we refer to the substance of 
the writing only. Thus one may be a good penman, and unable to use good 
language or spell correctly; or a great writer, and a miserable penman. 

WRITING. 

Writing is the art which has recorded the rise and progress of all 
knowledge. In its true sense means expression and arranging of thought, 
by means of forms, which are termed penmanship. Expression is the act of 
bringing thought to the surface, which is termed language. It is thought 
expressed, as well as the power of expressing thought. Language is of four 
kinds, Signs, Sounds, Forms, and Characters. Sign Language is that which 
is used by the Indians and the Deaf and Dumb, wherein a thought is ex¬ 
pressed, or a command made known, by a motion, action, or gesture, made 
by the use of the hands, feet, body or facial-expression. 

Sound Language is that which is used by all civilized people, wherein 
ideas are expressed, by uttering audibly, or making an impulse of the air that 
shall strike the organs of hearing with a perceptible effect. 

Form Language is that, wherein the shape or structure of anything is 
given or determined, and mental images transcribed, by forming them on, 
or of some material substances. 

Character Language is the art of recording and expressing sound 
language to the eye, by distinctive marks, such as letters or figures. 

Thus the difference between penmanship and writing may be very 
easily understood, the former being the construction of characters or letters, 
without expressing thought; the latter, the use of said letters in expressing 
thought, and it may be said, that penmanship and writing are like the 
blades of a pair of scissors, which are admirably adapted to their end, when 
conjoined; separated they lose the greater portion of their utility. 


33 


CHAPTER III. 

-HOW TO LEARN - 


’t is education forms the common mind, 
Just as the twig is bent, the tree ’s inclined. 



SITING is the art of expressing and recording of thoughts and 
ideas, by means of visible characters, formed on some material. 
It may be either ideographic or phonetic. 

Ideographic writing may be either pictorial, representing objects by 
imitating their form, or symbolic, indicating their nature or proportions. 

Phonetic writing may be syllabic or alphabetic, in the former each 
character represents a syllable, in the latter an elementary sound. 

To learn the useful art of writing, like all other Arts and Sciences, 
requires the application of mental and physical forces with proper instruction. 

It cannot, therefore be acquired without pains and application; but, 
if you take pleasure in your work, it will become your recreation. 


“A merry heart goes all the day, 

A sad tires in a mile.”— Shakespeare . 


Perseverance is failing nineteen times, and succeeding the twentieth. 

The forms which are given in this book, may seem very striking, (es¬ 
pecially to the beginner), and you may attempt to make an exact copy 
and likeness of said forms, and, after you have done so, and compare them, 
you may wonder (providing you are a fair judge of art) why they appear 
so different, and why yours do not look as well. It is because your eyes 
are probably not accustomed of seeing a graceful curve, or a perfect circle, 
and your hand is not trained to construct one, but your imagination can 
conceive it. It is the creative power of the imagination, that will assist 
us in seeing life and beauty in any art, and if properly conceived, may be 
made to move before us like a panorama, as the sculptor sees forms of 
beauty sleeping in a cold block of marble. You may ask, how can this be 
done ? It can be done by cultivating the imagination, so as to unite the 
elements or parts of letters into the proper forms, space and slant; as by 
studying the form or appearance of a picture, so as to see it before us, 


without refering to it. It is such training that made our Penman and 
Artists of to-day. 

“Accomplishments are sociable, but there is nothing so sociable as a 
cultivated mind.” 

As the forest is made up of single leaves, so is the alphabet made up 
of principles. A right understanding of these is absolutely necessary, if 
you desire to master a good handwriting. You must also observe and follow 
the instructions as given in the lessons, and not deviate in the least from 
the plan of program. 

Although many would prefer to skip about, practice a short time on 

the lesson, then write some fancy combinations, flourish a set of capitals, 

and wind up, making a bird, (or something like it,) all during the time 

occupied by one lesson; but the student who looks to his own interest, will 

carefully study the form of every lesson, and will not pass to the second 

one, until he has thoroughly mastered the first. 

“Be not afraid of hard study, 

It is the price of learning.” 

On entering the path of the Chirographic Art, it may at times seem a 
little rough, and it may appear to you right in the start, as though you 
were lost and left alone on a dark sea, without any assistance, but by apply¬ 
ing more practice and perseverance, the sunbeams of success will soon break 
through the clouds, and shine forever on your path, and when arriving at 
the end of your journey, I feel assured that you will not regret it, providing 
you have traveled faithfully and carefully, according to the instructions given. 

I have been on the road for the past six years, and have, so far, found 
it very smooth and pleasant, and as melodious and charming as the harp of 
Orpheus. 

Every stroke of the pen should be made with the best effort to combine 
legibility, rapidity and beauty, and improvement will soon crown your efforts. 

The heights by great men reached and kept, 

Were not attained by sudden flight; 

But they, while their companions slept, 

Were toiling upward in the light. 

On commencing write a specimen of your writing with the date, etc., 
which you will preserve for future reference. 


35 


CHAPTER IV. 


MOW TO TEACH PENMANSHIP. 



“That Divine and Beautiful Thing called Teaching.” 

Til HIS Compendium of Penmanship, although prepared mainly as a self- 
w 1 instructor for home practice, will serve equally as a teachers hard- 
book for class use. 

The principle feature of this work being, that it is arranged so as to 
properly divide the time to be occupied for the practice of each lesson, al¬ 
lowing an hours time for each. 

Although the experienced teacher can readily use his own judgment, 
as how to arrange the lessons, and needs no advice how to use the copies 
etc., neither is it my intention to give you advice on the subject, nor to try 
to settle the respective claims of different authors. I leave that for older 
and wiser heads, and to those who have more philosophy, time and words 
than I for discussing them. There are however a few words, which I trust 
you will permit me to direct to you. 


HOW, WHO/A AND WHAT TO TEACH. 

How to conduct a writing class successfully is the first thing that should 
be considered. It should always be your aim, to keep a lively interest, and 
at the same time command good order in the class ; in order to do this, 
keep your scholars busy and do not drill them on one exercise or copy 
too long. 

The following outline of topics should be constantly reviewed and drilled 
upon: 

POSITION. 

1st. The proper position at the desk. 

2d. The proper position of the hand and pen. 

/AOVE/AENTS. 

3d. Finger movement (for children) Muscular and Combined, and a 
small degree of the Whole-arm movement (for the advanced 
classes). 

4th. Theory, slant, principles and spacing. 

5th. Movement exercises, Analysis and Classification of letters. 

36 



The proper position of the body, arm, hand and pen, should be fully 
explained and illustrated, as there is nothing which is so little understood 
by the beginner in learning to write, as correct penholding, finger and arm 
rests, and the different movements. 

If your class is composed of children under 12 years, teach them mostly 
form and allow them to use any movement they choose (which will naturally 
be the finger movement), but, insist upon correct penholding and position 
at the desk. There is no harm however, and would even prove beneficial 
in practicing the movement exercises with the combined, in place of the 
finger movement, in order to develop a free and easy motion from the start. 
When practicing said exercises, you need not pay so much attention to 
form, but nevertheless you will not allow any careless scribbling, nor are 
the exercises to be drilled as fast as in the advanced classes. It is also very 
desirable to have beginners use a lead pencil for a short time, instead of a 
pen, especially when practicing exercises. 

In the advanced grades, having pupils of 12 or more years, and espe¬ 
cially in the high schools, no movement but the muscular, or the combined 
(forearm and finger) should be permitted. These are the only movements 
which afford the requisite ease, rapidity and legibility for a really graceful 
and acceptable hand for business purposes. 

The movement exercises (of lesson 1 and 2) should be thoroughly and 
carefully drilled, (by counting or tapping with a pencil, or by using a me¬ 
tronome, etc.) at the beginning of each lesson, in order to develop an easy, 
free and rapid movement. 

Prepare your lessons before going to the class, making an outline of the 
entire lesson; use the blackboard freely, and when you notice a very com¬ 
mon error in the pupil’s work, go to the blackboard and imitate the error, 
and ask the class as a whole to criticise and point out the faults to you ; in 
this way each one learns to criticise his own work. 

It is also a very good plan, and an interesting exercise to occasionally 
have the pupil exchange his work with his next neighbor, and mark the 
mistakes, and may also write a specimen under same and then return it. 

Show the pupils that men are not natural penmen, but are made good 
writers by the proper instruction and practice. 

In order to encourage your students, you might offer a few premiums 
to the ones that make the best improvement ; these premiums may consist 
of a specimen of your own work, or a book on penmanship, etc. 

37 


CHAPTER V. 


MATERIALS. 


PEN HOLDER. 

For beginning and for rapid business writing use a straight wooden or 
rubber holder, rather large in size. For fancy writing an oblique holder 
may be used, if preferred. Metal or nickeled polished holders are injurious 
and should not be used. 

PENS. 

The best pen for practice is a steel pen, with a fine elastic point, such 
as Gillott’s No. 604 or Spencerian No. 1. For rapid business writing use 
Gillott’s No. 404 or No. 601, and for fancy work and card writing Gillott’s 
No. 1 or No. 303. 

PAPER. 

Use good quality of foolscap or business letter size paper, that has a 
hard and firm, rather than a soft and smooth surface. Note size paper 
should not be used for practice. 

INK. 

Good black or blue black ink, that is thin enough to flow easily. A 
mixture of equal parts of Arnold’s Writing Fluid, and Arnold’s Japan 
ink makes a fine black and well-flowing ink for general use. The inkstand 
should be kept closed, when not in use, remove the ink, when it becomes 
thick, and wash the inkstand frequently. 

BLOTTER. 

Always rest the hands upon a blotter, to protect the paper from the 
moisture of the hand, otherwise the paper will not take the ink properly. 


38 


CHAPTER VI. 



IMPORTANT POINTS 

desk or table with a flat surface, is preferred to an inclined plane. 

The height of the desk when sitting at it on an ordinary chair, 
should be from 29 to 30 inches, when standing from 45 to 46 inches, 
or, the desk should be from 12 to 13 inches higher than the seat of the chair. 

The average distance from the eye to the paper when writing or read¬ 
ing is from 12 to 14 inches. 

When practicing, there should be nothing tight about the right arm, 
the sleeve should be large enough, so that you can move the arm in a free 
and easy manner. 

SIZE OP LETTER 


Observe Uniformity —Height, length and width of letters. 

The size of the letters may be easily determined, by dividing the space 
between the ruled lines on foolscap paper (which is three eights of an inch) 
into four equal parts or spaces. The capitals and loop letters should cover 
but three of these spaces, the stem letters should cover two spaces; the letters 
p and q should cover two and a half spaces below the base line, and the 
short letters one space. 

SPACING. 


Do not crowd either letters or words, give each all the space necessary 
to its instant comprehension. The space between the letters, should be a 
little more than the space between the straight lines of the small u which is 
one space ; between the words the distance should be two spaces ; between 
sentances the distance should be three spaces. Paragraph should begin one 
inch and three fourths from margin. 

SLANT. 

Every letter should touch the base-line The base-line is the line on 
which the letters rest. 


The downward stroke should be written upon a slant of 51 0 from the 
horizontal. This is termed the Main Slant . The main slant is the direction 
in which the main downward lines lean. 

The connecting and ending lines should be written upon a slant of 28°, 
called the Connective Slant , which is the direction in which the connecting 
and ending lines lean. 

SHADING. 

Shades should be made very light, and may be entirely omitted when 
using a coarse pen, especially for business writing. However, when skil¬ 
fully done, shades add life and beauty to the page and will make our writing 
striking and impressive. 


39 


PART III. 

CHAPTER I. 



POSITION. 

’HERE are three different positions. The front, right and left side 
position. The front position, being the most natural and healthful 
(when sitting at a table or desk, that contains a flat surface), is pre¬ 
ferred, although the others may be properly assumed at times. 

Sit as upright as possible, facing the desk, place both elbows just ovef 
the edge of the desk, resting the arm lightly on the largest part, just for¬ 
ward of the elbow. 

Place the weight of the body on the left arm, holding the paper in 
position with the left hand, no weight except the weight of the arm itself, 
should be placed upon the muscles of the right arm. 

Keep both feet squarely on the floor in front of the chair, the left 
advanced slightly, thereby preventing from leaning against the desk. 


# N the subject of Penholding and Movement, the opinions of many oi 
our best penmen differ widely, and it is a rare thing to find two of 
$ them who hold their pens exactly alike. 

It is somewhat difficult to lay down a rule, that will adapt itself to all 
cases, as it is very seldom, that we find two persons, who have hands shaped 
alike, nevertheless, some general rules can be given. 

The penholder should be held between the thumb, first and second 
finger. Place the first finger squarely on the holder, about an inch from the 
point of the pen, resting the holder just below the knuckle of the first finger, 
and against the root of the second finger nail. The thumb should be well 
curved, and drawn up, until the end is opposite the flrst joint of the first 
finger. 

The wrist should be kept near the paper, but must not rest on it. The 
third and fourth fingers should be turned under the hand, and serve as a 
sliding rest; the hand rest varies, either .rest the nails of the third and fourth 
fingers, or the side of the first joint of the fourth finger. Some excellent 
penmen prefer the latter. 


40 






Correct Position 



Genius is the product of birth; Penmanship an art acquired 
by practice. 


41 















































CHAPTER II. 




MOVEMENT. 



RITING IS MOVEMENT. If you command a free and easy move¬ 
ment you have power to produce clear and graceful lines. 

It may be of four kinds : Finger, Muscular, also called Fore- 
Arm, Combined and Whole-Arm movement. All of these have their proper 
place for use. 


If obliged to stand and write, without any rest for the arm, we must 
use finger or whole-arm movement. 

The finger movement is the extension or contraction of the thumb, first 
and second fingers, while the hand and arm remain stationary. This is the 
easiest movement, and is therefore assumed by children. It is also used by 
Pen-Artists for fine lettering or card work; but will not answer for ordinary 
writing, as the power of the fingers is not strong enough to produce good 
rapid strokes. 


The muscular, or the fore-arm movement is the action that comes 
principally from the fore-arm, while resting on the muscle just forward of 
the elbow, and on the tips of third and fourth fingers, or on the first joint 
of the little finger, moving the hand forward and backward, right and left 
and also in a circular motion, until the muscles work freely, without lifting 
the arm, or moving the sleeve. This is the only and best movement for 
rapid business writing. 

The combined movement, is the unison of the muscular and finger 
movement. This is the true movement for beautiful and accurate writing. 


The whole-arm movement is made by raising the elbow from the desk, 
and resting on the tips of the third and fourth fingers. It is the action of 
the arm from the shoulder. This movement is only used for large capitals, 
and in flourishing and black-board writing, and should not be used by be¬ 
ginners and /or business writing. 


42 



CHAPTER III. 


LESSON NO. 1-PLATE NO. 1. 

/nOVE/nENT EXERCISES 

IE exercises given on Plate No. I should be written with the muscular 
(also called fore-arm) movement only, without much shading. Do 
not attempt it on a smooth table or varnished desk. The arm should 
rest on a rough surface, in order to keep it from sliding. Take a large piece 
of blotting paper, or a heavy piece of cloth, and tack it on the desk. 

Drill upon these excercises, until yo v £an easily carry the hand over the 
paper from one end to the other; the finger-rest always moving with the pen. 
In order to do that, place your arm far out from the side and adjust the 
paper with the left hand, so that the right arm lies in the centre of the paper, 
as shown in the cut. 

While practicing, give special attention to the correct position of the 
body, hand and pen. 

Exercise No. i — Plate No. i —introduces the right curved strokes. 
Move the hand upward, making them the height of two blue lines, ruled on 
foolscap paper. 

Practice this exercise ten minutes, making the strokes rapidly, at the 
rate of 50 to 60 per minute. 

Exercise No. 2— Plate No. i —introduces the left curved strokes. Make 
these the same height and speed as the right curved strokes. Practice this 
exercise also ten minutes. 

Exercise No. 3— Plate No. 1.—The traced oval exercise given next, 
should be made very lightly, and in the same direction as the capital O. 

On commencing, make them at the rate of 120 ovals per minute, and 
gradually increase the speed to 150 per minute, making them as near as 
possible on the same spot. Practice this exercise ten minutes. 

Exercise No. 4— Plate No. i —introduces the same movement as in 
No. 3, with the exception that these ovals are separated instead of traced. 
Make them between the ruled lines, at the rate of 100 to 120 per minute, 
and gradually increase the speed to 150 ovals per minute. Practice fifteen 
minutes on this exercise. 

EXERCISE No. 5 — Plate No. i —presents the ovals reversed. Begin 
on the blue line, and move the hand upward in a circular motion to the next 
ruled line, at the rate of a 100 to 120 ovals per minute, and gradually in¬ 
crease the speed to 1 50 ovals per minute. Practice fifteen minutes on this 
exercise. 

Make all of these exercises with a deliberate stroke, and about the same 
rate of speed as specified, in order to get the lines clear and smooth. 

These are the simplest and best exercises to develop the muscular 
movement, and they should be reviewed constantly. 

43 





LESSON NO. 2-PLATE NO. 1 


COMMENCE with Exercise No. i—of Lesson No. I—, and go through 
the whole five exercises again. 

Consume five minutes on each one, carefully observing the proper 
position and movement. 

Exercise No.'6— Plate No. i. —Introduces the Direct Ovals, maae 
in the same direction, as those in Exercise No. 4 of Lesson No. 1 

Begin at the left side of the page, and make the ovals about one fourth 
of the space between the blue lines, and gradually increase the size to the 
full space, and then decrease the size to one-fourth of said space, carrying 
the hand clear across the page, without raising the arm. Practice this 
exercise ten minutes. 

Exercise No. 7— Plate No. i. —Introduces the combined capital and 
small M, making them gradually smaller. Make them round at the top 
and angular at the bottom. Practice fifteen minutes. 

Exercise No. 8— Plate No. i. —This is the reverse of the M exercise, 
and should be made angular at the top, and round at the bottom. Consume 
ten minutes on this exercise, practicing it carefully and rapidly. 



44 





PLATE No. 1. 







45 


/ 


























LESSON NO. 3-PLATE NO. 2. 

EXERCISE No. i — PLATE No. 2. —Introduces the small o. Try and 
make them all the same size, and the same distance apart. 

First make the letter singly, then join four or five of them, without 
lifting the pen. Make the'A as round as possible. 50 to 60 o’s per minute, 
in a count of two, is about right. Consume about fifteen minutes on this 
exercise. 

Exercise No. 2— Plate No. 2. —Presents the small o in groups of 
three, with a circle drawn around them. Practice this exercise ten minutes, 
with a rapid swinging movement, without any shading. 

Exercise No. 3 — Plate No. 2. —Introduces the small m. Make this 
exercise round at the top, and angular at the bottom, and of a uniform size 
and distance apart. Practice this exercise fifteen minutes, making about 40 
to 50 m’s per minute. 

Exercise No. 4— Plate No. 2. —Presents the small u. Make this 
exercise angular at the top and round at the bottom. Practice this exercise 
ten minutes, at the rate of 40 to 50 u’s per minute. 

Exercise No. 5— Plate No. 2.— Introduces the small a. This letter 
is similar to the small o, with the exception, that the oval part in the letter a 
should slant more to the right. Close the a at the top, and make about 
40 to 50 per minute. Practice ten minutes. 


LESSON NO. 4-PLATE NO. 2. 

COMMENCE with exercise No. I, of Lesson No. 3—, and go through 
the whole five numbers again, consuming five minutes on each exercise. 

Exercise No. 6 — Plate No. 2. —Introduces the small 1 . This exercise 
should be made with the combined movement, and somewhat slow at first. 
Make the loop even and full, arid three spaces high. Practice this exercise 
for fifteen minutes, at the rate of 35 to 40 per minute. 

Exercise No. 7— Plate No. 2. —Presents the small r. The first style 
given, is frequently used in business writing. The second style is the 
standard. Make these letters a trifle higher than one space. Practice five 
minutes on each style, making about 40 per minute. 

Exercise No. 8 — Plate No. 2. —Introduces the small e. This letter 
is the same in form as the small 1, with the exception that it is one third 
the size. Consume ten minutes on this letter, making about 40 per minute. 


46 



PLATE No. 2 




















CHAPTER IV. _ PLATE No. 3. 




4S 












PLATE No. 4. 




49 



LESSON NO. 5-PLATE NO. 5. 


4 0NSISTS of Elements and Principles of letters. See analysis of forms, 

' plate No. 3. 

t The first element (marked A), is a straight line, usually on the 
main slant. This stroke is always made downwards. 

The second element (marked B), is a right curve, usually on the con¬ 
nective slant. This stroke is always made upwards. 

The third element (marked C), is a left curve , usually on the connect¬ 
ive slant. This stroke is always made upwards. 

The first principle given next, is formed by uniting the first two ele¬ 
ments, namely the straight line and the right curve , which is called the hook. 

The second principle is formed by uniting the left curve and the straight 
line , which is termed the inverted hook. 

The third principle is formed by uniting the three elements , and is termed 
the double hook. 

Practice ten minutes on each of these forms, and make them one third 
the height of capital and loop letters. 


LESSON NO. 6-PLATE NO. 5. 

CONCLUDES the Elements and Principles of letters. 

The fourth principle given next, is the loop above the base line; made 
with a right curve three spaces high, and a straight line downward. 

The fifth principle is the loop below the base line; made the same size 
as the upper loop, with a straight line downward, and a left curve upward. 
Practice ten minutes on each of these exercises. 

Before commencing with the next principle, drill on the oval exercises 
No. 4 and No. 5 of plate No. 1, consume five minutes on each. 

The sixth principle is the Direct Oval. Begin three spaces above the 
base line, and descend with a left curve; make turn on the base line, and 
ascend with a right curve, and join the first stroke. 

The seventh principle is the Inverted Oval. Begin on the base line, 
and ascend with left curve on the main slant, and descend to base line a 
little to the right of the beginning stroke. 

The eight principle is the Capital Stem. Begin at the top line, and 
descend with a double curve to the base line. 

Practice ten minutes on the 6th, 7th and 8th principles 


50 





PLATE No. 5. 



/// / 



^ ^ ^7 ^7 ^7 ^7 




PP POpO 


LESSON NO. 7. PLATE NO. 6. 

The letters given on the first four lines of Plate No. 6: “i, u, w, e,” 
are the simplest of short letters, beginning on the base line with a right 
curve, and extend one space, or one third the lenght of a blue line on fools¬ 
cap paper. 

The letters “r” and “s” given on the next two lines are a trifle higher 
than one space.—Analysis:—Element B, Principles i and 2. 

Practice ten minutes on each line, making the letters rapidly. 


LESSON NO. 8. PLATE NO. 6. 

The letters given on the next two lines of Plate No. 6: “t, d, p,” are 
the stem letters, the small “i” forms the lower part of the first style of “t” 
and the “a” the lower part of “d”. 

Practice fifteen minutes on each letter, making them two spaces high. 
Make the letter “p” a space and a half below the base line. 

See Plate No. 3 for analysis of the letters. 


52 


PLATE No. 6. 


/ 





CS 












LESSON NO. 9. PLATE NO. 7. 

The letters given on the first four lines of Plate No. 7—“n, m, v, r, x, 
c, o, and a” conclude the short letters; beginning on the base line, with the 
left curve, and extending one space. 

Analysis—Principles 2, 1 and 3. Consume an hour’s time on these 
letters. 


LESSON NO. 10. PLATE NO. 7. 

Introduces the loop letters. 

The “ 1 , b, h, and k” are to be made three spaces high, beginning on 
the base line, with a right curve, making a small turn at the top, and 
descending with an oblique straight line, crossing the first stroke a space 
above the base line. 

First practice the single loop for ten minutes, making about 60 to 70 
loops per minute; then practice twenty minutes on the four letters. 

The next in order are the inverted loops, the “j, y, g, f and z;” they 
are the same length and width as the upper loops. The loop of the letter 
“q” should only extends 1^ spaces below the base line, and should be made 
on the right side of the downward stroke. 

Practice thirty minutes on these letters. 


54 


PLATE NO. 7 . 



55 



















































LESSON NO. 11. PLATE NO. 8. 

Begin this lesson by drilling five minutes on the “m” exercise given on 
Plate No. 2, making them rapidly. 

Then write the words “man, mow, come” and “some,” practicing a few 
minutes on each word, at the rate of twenty-one to the minute. Then write 
the words “manner” and “running” at the rate of fourteen words per minute. 

Mind size, slant shape and shade, and observe that the letters “rand s” 
are made a trifle larger. 

Then practice the words given on the next three lines, at the same rate 
of speed; writing each word with the muscular movement, and combine 
without lifting the pen. 

Consume an hour’s time on this lesson, practicing very carefully. 


LESSON NO. 12. PLATE NO. 8. 

Begin this lesson by drilling five minutes or more on exercise No. 6, 
Plate No. 2, making them all as near as possible, of the same size, with the 
combined movement. 

Then write the words “bill” and “book,” making the loops smooth and 
full, and as rapid as possible. 

The words “egypt” and “fiftyfifth” are some ./hat difficult, and should 
be practiced carefully. Mind crossings and joinings of the loops. 

These words should be written with the combined movement, and with¬ 
out lifting the pen. 

Consume an hour’s time on this lesson. 


56 


PLATE No. 8. 


LESSON NO. 13. PLATE NO. 9 

Presents the direct oval capitals. The “O, A, C and E”. 

Before taking up these capitals, it will be to advantage to drill on the 
capital “O” exercise (given on plate No. i), in order to gain an easy, free 
and rapid motion. If you have thoroughly mastered this exercise with the 
muscular movement, you will have no trouble in making this capital letter 
as perfect as shown on the plate. 

Practice ten minutes on each capital, at the rate of 35 to 40 per min¬ 
ute, without much shading. 

For analysis see Plate No. 3 and 4. 

LESSON NO. 14. PLATE NO. 9 

Presents the reversed oval capitals. The “I, N, M, X, Q, V, U, W, J, Y 
and Z”. 

Begin this lesson by drilling a few minutes on the reversed capital “O” 
exercise, given on plate number one. 

Commence with the capital “I” and practice each one carefully, at the 
rate of 35 per minute. 

Consume two hour’s time on this lesson. 


LESSON NO. 15. PLATE NO. 9 

Presents the capital stem letters. The “B, P, R, T, F, S, L, D, G, H, K”. 

The capital stem is a compound curve, made by joining two single 
curves in one. 

Commencing with the capital “B”, and practice each letter carefully, 
at the rate of 30 to 35 per minute. 

Consume two hour’s time on this lesson. 


58 


PLATE No. 9. 




LESSON NO. 16. PLATE NO. 10 

Presents the first two lines of the “Standard Capitals”. 

Study each letter carefully as shown on the plate. Make the letters 
with a firm rapid stroke, by letting the hand glide freely on the paper. 

It may be beneficial to occasionally practice slowly in order to acquire 
perfect form, but otherwise, letters made with a free and rapid movement, 
contain all the beauty, while those formed with a slow movement, however 
perfect, have no comparison with the graceful and beautiful appearance of 
those formed with a free and rapid movement. 

Consume an hour’s time on this lesson. 


LESSON NO. 17, PLATE NO. 10 

Presents tne next two lines of the capital letters beginning with the 
letter ’“I”. 

Observe slant and keep size and space uniform. 

Consume an hour’s time on this lesson. 


LESSON NO. 18. PLATE NO. 10 

Concludes the “Standard Capitals” beginning with the letter “Q”. 

Practice these letters until you can make them perfect, and without 
referring to the copy. 

Consume an hour’s time on this lesson. 


60 


PLATE No. 10. 











LESSON NO. 19. PLATE NO. 11 

Contains full line sentences. 

Begin this lesson by drilling ten minutes on the exercises given on 
plate No. 2. Then take up the sentences. Mind size, slant and shape of 
letters, and never allow yourself to be satisfied with anything but the correct 
position, and the muscular movement for capitals and short letters, and the 
combined movement for loop and stem letters. 

Write each word without lifting the pen, and practice ten minutes on 
each sentence. 


62 


PLATE No. 11. 














63 




LESSON NO. 20. PLATE NO. 12. 

Begin this lesson by practicing a short time on the exercises given on 
plate No. 2. Then continue with the sentence—“Learn to write with an 
easy graceful motion, and the result will be pleasing.” 

If you have mastered an easy muscular motion, you can easily fill two 
pages of foolscap paper in twenty minutes. Try it, don’t get discouraged. 

Notice the general appearance of your writing, look at the copy, then 
close your eyes and recall it. 

Always keep your pen clean, and flat on the paper, and it will make 
smooth strokes. 

Then practice thirty minutes on the next paragraph. 


64 


PLATE No. 12. 




65 

• * / 4 






LESSON NO. 21, PLATE NO. 13 

Continues with sentence writing. 

First practice twenty minutes on the exercises given on plate No. i and 
No. 2, then practice twenty minutes on each paragraph. 

Always place the first small letter up close to the capital of a word. 
Note uniformity of height of the small letters, by placing a ruler at the 

top. 

Compare your writing, and see if your words and lines are the same 
length and on the same slant as the copy. 

The small letters require much more practice than the capitals. 

Please practice nothing but the copy. 

S 


66 


PLATE No. 13. 




67 


t 




LESSON NO. 22. PLATE NO. 14 

Continues with sentence writing. 

Practice carefully, yet rapidly for twenty minutes on each paragraph. 

By this time you ought to be able to write fairly well. 

Suppose you make this the best looking page in your book. 

It takes quite a little nerve and force, together with a cheerful state of 
mind, to produce good penmanship. (A nervous person cannot write well.) 

Do not get discouraged if your writing does not look like the copy, 
examine it closely, it is the little things that should be observed, in order to 
improve. 

The copies in this work are not perfect, they were engraved from 
ordinary rapid writing, and can easily be equalled by any average person, 
and excelled by many. Try it. 


68 


PLATE No. 14. 



69 



LESSON NO. 23. PLATE NO. 15 

Introduces the Runninghand style of writing, which is the easiest and best 
for business. 

Proceed in the practice of this writing as directed for the preceding 
style, with the exception that the runninghand style is made a trifle smaller, 
and the small letters placed a little further apart. 

Begin this lesson by practicing ten minutes on the capital “O” exercises 
given on plate No. i. 

Then take up the set of capitals, making them plain and without any 
shading. 

You ought to be able to make a fair set of capitals in 30 seconds. (The 
author’s time being 18 seconds.) 

Practice twenty minutes on the capitals. Then take up the sentence, 
“Command your hand to guide the quill,” write it in 20 seconds. 

Practice thirty minutes. 


70 







LESSON NO. 24. PLATE NO. 16 

Illustrates the form of beginning and closing a letter. Practice ten minutes 
on each line. 

Then take up the whole form and substitute your own and other names. 
Practice twenty minutes. 


LESSON NO. 25 AND 26. PLATE NO. 16 

Presents the figures. Generally speaking, figures should contain no shade 
and are to be made small, slanting and near each other. They generally 
occupy one space. The first part of “6” and the last part of “4” and “8” 
should extend a little higher than one space. 

The last part of “7” and “9” extends one space below the base line. 

The “2,” “3” and “7” may begin with dots. 

Lesson 25 comprises the first six figures. Practice carefully ten minutes 
on each figure. 

Lesson 26 comprises the balance of the figures “7, 8, 9” and “o.” 

Practice ten minutes on each, and twenty minutes on the promiscuous 
figures. 

Establish a record by taking up each figure singly. 

The author’s record is as follows, 165 naughts, 170 ones, no twos. 100 
threes, 130 fours, no fives, 135 sixes, no sevens, 135.eights, 120 nines; or, 
a 120 good figures per minute, taken promiscuously. 


72 


PLATE No. 16. 



73 





CHAPTER V. 


LESSON NO. 27. PLATE NO. 17. 

THE PARTS OF A LETTER. 

1. The Heading, 

2. The Name and Address, 

3. The Salutation, 

4. The Body, 

S- The Complimentary closing, 

6. The Signature. 

The heading should indicate where and when the letter was written, 
and to where a reply may be addressed. 

The name and address shows to whom the letter is directed and where 
it should be sent, and should appear at the beginning in business letters, and 
at the conclusion in social letters. 

A business letter should begin as follows: 

“Mr. J. W. Atwood, 

52 Broadway, New York. 

Dear Sir, 

Yours of the 15th inst., etc.” 
or: 

“Messrs. H. B. Stockwell & Co., 

98 - 3rd St., St. Louis, Mo. 

Gentlemen: etc.” 

The salutation or greeting consists of a numerous variety of forms: 
Dear Sir, Dear Madam and Gentlemen (not Gents) being quite universally 
adopted for business letters; otherwise the salutation must be determined by 
the relation existing between the writer and the person addressed. 


74 



PLATE No. 17 


SKELETON LETTER 


The Heading 


The Name 


The Address 


The Salutation. 


The Body 


New Paragraph 


The Complimentary Closing 


The Signature 


75 

































LESSON NO. 27 CONTINUED. PLATE NO. 18. 

The body of the letter should follow the salutation. A margin of about 
one-half an inch should be left on the left-hand side of the sheet. 

A new paragraph should begin directly in line with the first word of the 
body of the letter, or about two inches from the left-hand side of the sheet. 

The complimentary closing. 

The same shades of feeling may be expressed in closing as in the salut¬ 
ation. Your truly, or Respectfully yours, are mostly used for business letters. 

The signature should be written plainly and near the right-hand side of 
the sheet. 

Decide upon a way of writing your signature, and then always write it 
that way. 


After you have carefully studied the different parts of a letter, take up 
the letter given on Plate No. 18, and practice it very carefully. 

Study the forms and correct errors, as the hand cannot produce a better 
form than is pictured in the mind. 

Be careful of the small letters; make narrow turns at the base line. The 
small letters should be learned in preference to the capitals, as they are 
used more. 

Make these letters as though you were to receive a reward for each good 
one, and you will soon improve. 

Practice an hour’s time on this lesson. 


76 


PLATE No. 18 . 



77 








LESSON NO. 28, PLATE NO. 19 

What seems more beautiful than to receive a letter of snowy whiteness, 
on which our address appears in graceful and legible writing ? 

Everybody should be able to address an envelope properly. It is very 
simpLe, and yet so many fail. 

The first line of the superscription should be written at the center, (or 
a little below) of the envelope; then underneath a little further to the right, 
write the name of the town or city; just below, the name of the state; the 
street and number or county may be placed at the lower left-hand corner. 

The following are correct forms: 



Rule your paper into divisions, the same size as the copy on the Plate, 
(across the lines) and practice on the superscription, until you can write the 
address straight without a line. 

It is not necessary to join the capitals together as shown by the copy. 
Devote an hour’s time on this lesson. 


78 










PLATE No. 19. 


(sample envelope) 



79 









LESSON NO. 29. PLATE NO. 20 

Presents legible business writing. 

Take up each sentence separately, and practice it carefully, yet rapidly. 
Always keep your arm about the middle of the sheet, and you will not 
be obliged to move the arm so frequently. 

Practice ten minutes on each sentence. 



OFF-HAND FLOURISHING. 


80 


PLATE No. 20. 




LESSON NO. 30. PLATE NO. 21. 

TIME DRAFT. 

Practice a short time on the movement exercises given on Plate No. I 
and No. 2. 

Then take up each line of the draft before writing it as a whole. 

Make letters uniform and same size as copy. Practice carefully. 

Devote an hour’s time on this lesson. 


82 


PLATE No. 21. 



83 





LESSON NO. 31. PLATE NO. 22. 

BILL OF SALE. 

Proceed in the practice of this copy as directed for the preceding lesson. 
Observe the position of your body, hand and pen, rest your hand lightly 
and place your feet squarely on the floor. 

After practicing on this form you may draw up some other forms of 

bills. 

Consume an hour’s time on this lesson. 


84 


T\ 


PLATE No. 22. 



* t 

85 





CHAPTER VI. 


LESSON NO. 32, PLATE NO. 23. 

ORNAMENTAL WRITING. 

I hope that the result of your work thus far will be sufficiently encour¬ 
aging for you to continue with the ornamental work given in the following 
lessons. If you have not acquired a free swinging movement, do so before 
you attempt these lessons. 

Take up each letter singly before joining them together. 

If you do not fellow instructions and copies, blame yourself only if you 
do not become a good penman. 

Practice ten minutes on each line. 


86 


PLATE No. 23. 



/ * 


> 


87 





LESSON NO. 33. PLATE NO. 24. 

if you have mastered the exercises given on Plate No. 23 you are ready 
to strike out with the fancy capitals. 

This lesson presents the first two lines only. 

To get the proper form of these letters you will have to use your own 
judgement, by continually comparing your work with the copy. 

Try and make the forms nice and round, make them rapidly. 

Consume an hour’s time on this lesson. 


LESSON NO. 34. PLATE NO. 24 

Presents the next two lines of the fancy capitals, beginning with the letter ‘ T. ” 
A bold dashy stroke should be used in executing these letters. 

Avoid to much shading, although shaded writing strengthens the move¬ 
ment of the hand, and therefore is good practice. 

Take up each capital and small letter singly, they are somewhat difficult, 
and therefore require a great amount of practice. 

Practice an hour’s time on this lesson. 


LESSON NO. 35. PLATE NO. 24 

Concludes the fancy capitals, beginning with the letter “Q”. 

Be careful not to slant your letters to much, and get them all the same 

size. 

Practice these letters until you can make them well and rapidly. 
Consume an hour’s time on this lesson. 


LESSON NO. 36. PLATE NO. 24 

Review the capital exercises on Plate No. 23 and the capitals on Plate 
No. 24. 

Practice 30 minutes on each. 


88 


PIRATE No. 24. 





LESSON NO. 37. PLATE NO. 25. 

ORNAMENTAL WRITING. 

Shaded and fancy writing is not as a rule used for business, but it has 
its proper place, and is sometimes very desirable if done gracefully. 

Avoid too much flourishing and shading. 

Begin this lesson by practicing a short time on the capital exercises 
given on Plate No. 23; then continue with the words. 

Try and make the lower part of the letter “C” a perfect oval, and make 
the small letters nice and even. 

Consume an hour’s time on this lesson. 

LESSON NO. 38, PLATE NO. 26 

Presents a beautiful little framed poem. 

Make an earnest effort to excel it; try and make theTines smooth and 
clear, and the letters of a uniform size. 

Practice io minutes on each line, then practice twenty minutes on the 
whole poem. 

It is not an uncommon thing to see the very poorest writer at the 
beginning, or even after, a considerable amount of practice, become the very 
best at the end. Do not get discouraged. 

Constant and thoughtful repetition should be your motto. 

LESSON NO. 39. PLATE NO. 27. 

AN INVITATION 
Presents Ladies’ style of writing. 

It is to be written somewhat smaller and more exact than the style in 
the previous lessons. 

Take up each line separately and practice very carefully, making the 
letters somewhat angular and close together. 

It is the little things that should be watched in order to improve. 

Consume an hour’s time on this lesson. 


90 


PLATE No. 25. 









91 



PLATE No. 26. 



92 







PLATE No. 27. 



93 






LESSON NO. 40. PLATE NO. 28. 


CARD WRITING. 

The four cards given on Plate No. 28 represent two different styles. 

The top and bottom cards are suitable styles for ladies’ cards. They 
should be written in a small and plain style without much shading. 

The two cards in the center make handsome gentlemen’s cards. They 
should be written somewhat larger and a little heavier. 

The main thing in writing cards is to get the name straight and in the 
center of the card, and make the letters of a uniform size. 

The small letters should be made quite small. 

Consume this lesson by drilling a short time on the capital “O” exercise 
given on Plate No. 1. Then take up each card given on Plate No. 28 
separately, and practice on it thoroughly (on unruled paper) until you can 
write the name straight. Then try it on blank cards. 

With best wishes for success in your efforts, I remain 

Yours respectfully, 

G. F. HERHOLD. 


94 





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